6,/y:ou 


Stom  f ^e  feifitciri?  of 

IpxoftBBox  T3?iffiam  J^^^^S  (Breen 

(J0equeat^eb  6|?  ^im  to 
f ^e  £i6rari?  of 

Qptincefon  ^^eofogtcaf  ^eminarj 

copy  2 


E  v^d'i  15/,  .      ;  d  88. 

^HE     ^ONQ     OF     ^ONQ^ 


TRANSLATED  FROM  THE  HEBREW 


WITH    OCCASIONAL    NOTES, 


BY 


THE  REV.  WILLIAM  C.  DALAND,  ^.  jVl., 


PASTOR   OF   THE 


FIRST  SEVENTH-DAY  BAPTIST  CHURCH, 


LEONARDSVILLE,   N.   Y. 


SECOND  EDITION.     1888. 


COPYRIGHTED    1 887, 

By  WILLIAM  C.  DALAND. 


TO 
MY  WIFE. 


♦  m^D  DooiDO  pmi 


"Preface 

TO  THE   FIRST    EDITION. 

This  translation  in  its  present  form  was  prepared  in  connection 
witli  the  series  of  lectures  on  the  Old  Testament,  delivered  by  the 
author  to  his  own  congregation  during  the  present  summer.  It  is  his 
object  to  exhibit  the  ethical  purpose  of  the  Song  of  Songs  and  to  jus- 
tify its  place  in  the  inspired  Literature  of  Wisdom.  He  deems  it  the 
product  of  that  Hebrew  school  of  thought  begun  by  those  wise  men 
gathered  about  Solomon — the  school  which  produced  Job  and 
Ecclesiastes. 

While  recognizing  the  dramatic  form  of  the  poem,  the  translat- 
or has  endeavored  to  preserve  as  simple  a  plan  as  possible  consist- 
ent with  the  aim  in  view.  May  his  work  aid  in  the  understanding 
of  a  most  beautiful,  though  much  neglected  and  abused  part  of  the 
Divine  Word, 

In  conclusion,  the  translator  must  acknowledge  his  indebtedness 
to  the  lectures  of  the  Rev.  Charles  A.  Briggs,  D.  D.,  of  the  Union 
Theological  Seminary. 

WILLIAM  C.  DALAND. 
The  Parsonage,  Leonardsville,  N.  Y.,  July,  1887. 


pREFACE 

TO   THE   SECOND    EDITION. 

The  first  edition  of  this  version  of  the  Song  of  Songs  was  issued 
.n  the  form  of  a  pamphlet,  and  intended  originally  for  only  a  narrow 
circle  of  readers;  but  the  demand  for  the  translation  from  many 
quarters  has  caused  the  author  to  venture  the  hope  that  the  re_ 
publication  of  the  same  with  more  detailed  annotations  might  meet 
with  a  favorable  reception  from  Biblical  students.  The  version  has 
baen  materially  improved,  and  many  errors  which  appeared  in  the 
former  imprint  have  been  corrected.  To  the  text  there  has  been 
prefixed  a  brief  introduction  setting  forth  more  particularly  the  in- 
tent and  character  of  the  poem.  It  has  not  been  the  object  of  the 
translator  to  make  a  critical  commentary  upon  every  word,  nor  to 
attempt  a  detailed  exposition  of  the  book.  He  has  simply  called 
attention  to  those  passages  in  which  the  rendering  is  different  from 
that  of  most  interpreters,  or  those  passages  which  concern  either 
the  dramatic  arrangement  or  what  the  translator  conceives  to  be 
the  ethical  purpose  of  the  poem. 

WILLIAM  C.  DALAND. 

The  Parsonage,  Leonardsville,  N.  Y.,  June,  1888. 


|ntroductiojs. 


When  he  lived  and  reigned  in  Jerusalem  who  was 
"wiser  than  all  men,"  then  were  the  palmy  days  of 
God's  chosen  people.     The  kingdom,  as  yet  undivided, 
enjoyed    limitless   peace    and    prosperity.      Material 
wealth  abounded  as  never  before  or  since,  so  that  the 
sacred  historian  tells  us  that  the  king  made  "  silver 
and  gold  in  Jerusalem  as  stones."     Traders  and  mer- 
chant vessels  brought  the  rarest  and  most  costly  wares 
from  all  countries.     The  splendor  of  Solomon's  palace 
and  of  the  temple  of  Jahveh  is  so  familiar  as  to  be  pro- 
verbial.    As  it  was  a  time  of  material  grandeur,  so  was 
it  also  a  time  of  literary  and  intellectual  glory  as  well. 
Hebrew  poetry  had  reached  its  golden  period.     The 
praise  songs  of  Israel  in  their  most  perfect  form  were 
chanted  by  the  faithful.     Sage  and  bard  wrote  and 
sung,  of  earth  and  heaven  and  man,  and  the  glory  of 
Jahveh   seemed  poured  forth  upon  His  own.     To  the 
prudent  son  of  the  sweet  psalmist  of  Israel  was  vouch- 
safed the  divine  gift  of  wisdom  as  never  besides  pos- 
sessed by  human  soul.     Wiser  was  he  than  Heman, 
who  pierced  the  gloom  of  man's  condition  and  saw  the 
eternal  Jahveh  beneath;  wiser  v/as  he  than  Ethan  the 
Ezrahite,   who   sang   of   the   everlasting   mercies    of 
Jahveh,  and  triumphed  in  his  measure  over  death  and 
Sheol.     Then  was  accomplished  the  birth  of  Hebrew 
philosophy,  destined  to  so  potent  an  influence  in  the 
world,  its  germinant  idea  the  divinely  given  Chokma, 
the  beginning  of  which  is  the  fear  of  Jahveh.     To  the 
development  of  this  idea  by  the  sages  gathered  about 


the  king^,  and  by  those  who  followed  after  him,  are  we 
indebted  for  what  are  perhaps  the  most  remarkable 
books  of  the  Sacred  Writings;  namely,  Job  and  the 
Song  of  Songs. 

These  books  seem  totally  dissimilar,  and  yet  they 
have  much  in  common.  They  both  are  the  product 
of  the  golden  age  of  Hebrew  literature.  They  both 
exhibit  the  influence  of  the  Chokma  philosophy. 
They  both  partake  of  a  dramatic  character.  They 
are  complementary  the  one  to  the  other.  JoB  depicts 
the  experience  of  a  man  who,  though  in  the  midst  oi 
fiery  trials  and  afflictions,  has  the  divine  gift  of  wis- 
dom, the  fear  and  perfect  trust  of  Jahveh,  which  en- 
ables him  to  withstand  them  all  and  to  come  forth  as 
the  pure  gold  from  the  furnace.  The  Song  of  Songs 
shows  us  a  woman  who,  by  virtue  of  the  same  grace, 
is  victorious  over  the  temptations  peculiar  to  a  woman 
in  the  time  of  Solomon,  and  who  remains  true  to  her 
plighted  troth  and  to  her  virtue,  against  the  allure- 
ments of  the  most  luxurious  court  in  history. 

The  purpose  of  these  books  is  clearly  ethical,  and 
yet  their  ethics,  being  grounded  in  the  Chokma  idea, 
is  deeper  than  the  ethics  of  nature,  having  its  root  in 
the  "  fear  of  Jahveh,"  and  its  consummation  in  the 
attainment  of  perfect  character  developed  by  the  Di- 
vine Energy  itself.  There  may  have  been  an  histori- 
cal Shulamite  as  well  as  an  historical  Job,  but  both 
these  books  bear  the  unmistakable  marks  of  artificial- 
ity in  their  external  form  and  in  their  internal  de- 
velopment. The  ethical  purpose  of  each  is  plainly 
perceived  when  we  mark  the  dramatic  character  of 
the  works,  and  when  we  trace  the  course  of  the  argu- 
ment thus  presented.  The  details  of  each,  both  of  the 
dramatic  form  and  in  the  narratives  and  dialogues, 
show  them  to  be   works  of  the  imagination.      How 


9 

much  of  historic  fact  lies  beneath  of  course  cannot  be 
.determined.  It  would  matter  not  if  even  the  basis  of 
the  narratives  were  fictitious;  the  ethical  purpose 
would  be  as  well  subserved  by  an  imaginary  example. 
The  dramatic  character  of  the  Song  of  Songs  is  more 
perfect  than  that  of  Job,  though  not  so  clearly  p3;^cep-  h-^- 
tible  upon  the  first  glance,  since  the  dialogue  is  con- 
tinuous, and  not  introduced  as  in  the  book  of  Job  by 
expressions  indicating  the  person  speaking.  The 
threefold  circle  of  speeches  in  Job  causes  its  artifi- 
ciality to  be  at  once  manifest,  while  the  natural  sim- 
plicity of  the  vSong  of  Songs  conceals  its  dramatic 
movement  the  more  effectually.  Still  the  fact  that 
the  most  widely  differing  interpreters  agree  as  to  the 
main  points  of  the  dramatic  arrangement  of  the  poem, 
affords  the  most  cogent  proof  that  its  solution  is  to  be 
sought  along  this  line.  When  once  it  is  settled  that 
the  Song  of  Songs  is  a  drama,  and  not  a  lyric  nor  a 
loose  collection  of  songs,  the  task  remaining'is  greatly 
simplified. 

If  it  be  a  drama,  what  are  the  principal  characters? 
Are  there  two  mam  persons,  or  three.?  Is  the  poem  a 
dialogue  between  Solomon  and  the  Shulamite,  with 
an  occasional  chorus,  or  a  drama  in  which  three  prin- 
cipal characters  figure?  It  would  seem  almost  an  idle 
question.  Certainly  there  are  two  most  contradictory 
characters  to  be  combined  into  one  if  the  whole  be  a 
dialogue  between, the  Shulamite  and  one,  person.  A 
mighty  king,  and  a  humble  shepherd;  a  rich  and  yet 
uncertain  suitor,  who  talks  of  his  favorite  steed,  his 
chariot,  jewels,  and  gold,  the  splendor  of  his  palace, 
the  tower  of  David,  shields,  and  v/eapons,  and  who 
endeavors  to  win  affection  by  blandishment, — and  an 
accepted  lover,  who  sings  of  Lebanon  and  Amana,  of 
ointments  and  spices,  of  springs  of  water,  fig-trees. 


10 

and  turtle-doves,  of  fruit,  flowers,  and  vineyards,  and 
who  is  occupied  with  pastoral  scenes:  he  who  is  able 
to  combine  these  exhibits  far  more  ingenuity  than  is 
needed  to  separate  incongruous  elements  which  fall 
apart  at  the  touch.  Once  discriminate  the  king  in 
his  palace  in  Jerusalem  from  the  shepherd  with  his 
flock  in  the  vine-clad  mountain  home  of  the  Shulamite, 
and  the  problem  is  solved.  The  changes  of  person, 
number,  and  style  of  address  reveal  in  most  cases  the 
divisionsof  the  dialogue,  while  the  refrains,  which  are 
so  characteristic  of  Hebrew  poetry,  indicate  the  prin- 
cipal divisions  of  the  poem. 

With  regard  to  the  date  and  authorship  of  the 
Song  of  Songs  it  is  difficult  to  speak  positivel}^  The 
language  and  style  of  the  poem  certainly  point  to  the 
age  of  Solomon,  the  golden  age  of  Hebrew  literature, 
as  the  time  when  it  was  written.  The  question  then 
arises  whether  it  be  by  vSolomon,  or  one  of  the  sages 
of  his  day,  or  by  a  poet  of  Northern  Palestine.  It  was 
certainly  written  by  a  man  used  to  all  the  scenes  de- 
scribed in  the  book,  and  one  having  an  intimate  ac- 
quaintance with  natural  objects,  and  one  familiar  with 
the  dialect  of  Northern  Palestine.  The.purpose  of  the 
book  would  almost  necessitate  the  non-Solomonic 
authorship.  It  was  assuredly  written  in  opposition  to 
the  profligate  court  of  the  king,  though  that  is,  of 
course,  not  the  main  object  of  the  book.  It  may  have 
been  written  by  one  of  the  many  sages  of  the  period. 
The  word  "  which  "  ('ds/iery  of  the  title  would  seem  to 
indicate  a  later  hand.  It  is  in  marked  contrast  to 
the  s/te^  of  the  poem,  and  is  unusual  in  titles,  e.g.  of 
the  Psalms.  It  w^as  evidently  added  afterward  by  way 
of  statement  that  Solomon  was  the  author  of  the  book. 


—  11  — 

The  heroine  of  the  drama,  the  Shiilamite,  is  repre- 
sented as  induced  to  leave  her  vineyards  and  come  to 
the  court  of  Solomon.  He  praises  her  beauty  and  by 
fair  words  and  promises  endeavors  to  win  her  affec- 
tion. He  succeeds  in  gaining  her  attention,  and 
awakens  in  her  bosom  a  severe  struggle;  but  she 
finally  resists  his  advances  and  returns  to  her  beloved 
shepherd.  It  is  the  object  of  the  drama  to  depict  the 
temptations  peculiar  to  a  beautiful  woman  brought  to 
the  court  of  such  a  king,  and  to  show  the  power  of 
true  love  to  withstand  them.  This  fidelity  is  genuine 
virtue,  and  is  the  result  of  the  fear  of  Jahveh,  though 
the  purely  dramatic  character  of  the  book  hardly 
permits  it  to  declare  this.  Its  purpose  is  evidently 
ethical,  and  herein  is  a  sufficient  justification  of  its 
place  in  the  canon.  It  belongs  where  the  other  books 
of  the  Chokma  literature  find  a  place.  The  treasures 
of  divine  wisdom  in  the  Proverbs  need  exemplification. 
In  Ecclesiastes  we  have  the  picture  of  a  life  conflict; 
the  deepest  struggles  of  a  noble  soul  are  there  por- 
trayed, its  alternations  of  light  and  darkness,  hope, 
belief,  and  skepticism  m^ade  vivid  and  personal,  but 
issuing  in  the  grand  conclusion,  "  Fear  God."  In  Job 
we  have  a  mighty  spirit  wrestling  amidst  darkness 
and  uncertainty,  with  that  most  terrible  of  problems, 
the  mysterious  providence  of  God.  With  every  hu- 
man influence  adverse,  and  smitten  as  was  no  man 
save  the  Man  of  Sorrows,  Job  stands  upon  the  firm 
rock  of  Jahveh's  integrity  and  proves  the  reality  of 
that  wisdom  which  is  His  fear.  The  Song  of  Songs 
is  needed  to  complete  the  series.  The  most  personal 
of  all,  the  most  simple  and  natural,  it  has  for  that  very 
reason  been  misunderstood.  Types,  symbols,  prophe- 
cies, and  allegories  have  been  imagined  in  this  book 
to  give  it  some  wonderful  significance,  and  every  at- 


12  

tempt  is  full  of  inconsistencies  and  necessary  perver- 
sions of  the  true  meaning  of  the  words  of  the  poet. 
In  this  book  there  is  as  noble  a  soul,  engaged  in  a 
struggle  as  momentous,  with  a  foe  as  subtle  and  terri- 
ble as  ever  sacred  poet  has  celebrated  in  song;  and 
the  victory  is  as  glorious,  and  peradventure  lies  near- 
er the  sympathy  of  the  true  human  heart  than  that  of 
the  upright  man  of  Uz  or  of  Qoheleth  himself.  li 
any,  however,  choose  to  find  in  the  Shulamite  a  typi- 
cal reference  to  the  Church,  the  vShepherd  must  be  con- 
sidered the  type  of  Christ.  Solomon  would  better  be 
regarded  as  a  type  of  the  evil  world  with  its  allure- 
ments and  snares. 

The  book  is  divided  into  five  parts,  or  "  acts,"  by 
the  four-times  recurring  refrain,  "  I  adjure  you, 
daughters  of  Jerusalem,"  etc.     Twice  it  is  as  follows: 

"  I  adjure  you,  daughters  of  Jerusalem,  by  the  gazelles  or  the  hinds 

of  the  field, 
That  ye  stir  not  up,  nor  awake  love  till  it  please." 

The  third  time,  at  the  end  of  the  third  act,  in  which 
is  seen  the  climax  of  feeling  on  the  part  of  the  Shula- 
mite, it  is: 

"  I  adjure  you,  daughters  of  Jerusalem! 

Oh  I  that  ye  would  find  my  love  ! 

Oh !  that  ye  would  tell  him  that  I  am  sick  with  love!  " 

At  the  close  of  the  fourth  act  it  is  abbreviated  by  the 
omission  of  the  words  "  by  the  gazelles  or  the  hinds 
of  the  field."  But  the  divisions  of  the  poem  are  clear- 
ly marked  by  this  refrain,  as  clearly  as  are  the  divis- 
ions in  the  426.  and  43d  Psalms  by  the  refrain,  "  Why 
art  thou  cast  down,"  etc.  When  thus  divided,  each 
act  is  seen  to  have  its  own  distinct  and  characteristic 
features.     These  may  be  indicated  as  follows: 

Act  I.  ch.  i.  2-ii.   7.     Solomon's  first  attempt  to 


13  

win  the  Shulamite  from  her  home  in  Northern  Pales- 
tine.    Chorus  of  court  ladies,  etc. 

Act  II.  ch.  ii.  8-iii.  5.  Solo  of  the  Shulamite  de- 
scribing a  visit  of  her  shepherd  lover.  Dream  of  the 
Shulamite — she  seeks  her  lover  and  finds  him. 

Act  III.  ch.  iii.  6-v.  8.  Second  attempt  of  Solomon. 
The  Shulamite  has  been  induced  to  come  to  Jerusalem. 
Wedding  preparations  are  made.  Chorus  of  citizens  of 
Jerusalem.  Solomon's  song  in  praise  of  the  Shulamite. 
The  Shulamite  describes  her  lover  as  coming  and  court- 
ing her.  Second  dream  of  the  Shulamite — she  seeks  her 
lover  and  fails  to  find  him.  Climax  of  dramatic  feeling. 

Act  IV.  ch.  V.  9-viii.  4.  Third  attempt  of  Solo- 
mon. Chorus  of  ladies.  Rustic  dance.  The  Shulamite 
definitely  rejects  Solomon  and  apostrophizes  her  lover. 

Act  V.  ch.  viii.  5-14.  Return  of  the  Shulamite  with 
her  lover  to  her  home.  Chorus  of  shepherds,  vine- 
dressers, etc. 

These  parts,  or  "  acts,"  are  divided  into  sections,  or 
"scenes,"  partly  by  a  lesser  refrain  and  partly  by 
change  in  the  action.  The  refrain,  "  my  love  is  mine, 
and  I  am  his;  he  feeds  his  flock  among  the  lilies,"  oc- 
curs in  different  forms  three  times. 

By  exhibiting  the  poem  in  this  form  it  is  not  in- 
tended to  convey  the  impression  that  it  was  ever  in- 
tended for  public  representation,  still  less  that  it  was 
ever  actually  performed  on  a  stage.  But  this  form, 
beyond  a  question,  best  reveals  the  movement  of  the 
piece,  and  shows  in  a  manner  clearer  than  can  be  done 
in  any  other  way  the  true  significance  of  the  book. 

Some  interpreters  hesitate  to  affirm  the  reality  of 
the  dance  in  Act  IV.  sc.  3 ;  but  the  description  by  the  la- 
dies certainly  becomes  unintelligible  on  any  other  view 
than  that  the  Shulamite  is  there  represented  as  actu- 
ally dancing. 


"PeR^ON^  of  the  pRAMA. 

TheShulamite,  a  maiden  in  the  vineyards  of  Northern  Palestine. 
A  Shepherd,  her  lover. 
Solomon,  King  in  Jerusalem. 

Brothers  of  the  Shulamite,  Court  Ladies  and  Concubines  of 
Solomon,  Citizens  of  Jerus'alem,  Shepherds,  Vine-dress- 
ers, etc. 


^RQUMENT 


The  Shulamite  has  been  induced  to  leave  her  vineyards  and 
come  to  Solomon's  Court.  He  praises  her  beauty  and  by  fair  words 
strives  to  win  her  love.  He  partially  succeeds,  but  she  resists  his 
advances  and  goes  back  to  her  shepherd  lover. 

Act  I.  The  court  of  King  Solomon  is  temporarily  removed  to 
a  quiet  retreat  in  Northern  Palestine.  Solomon,  having  perceived 
the  beauty  of  the  Shulamite,  desires  to  win  her  to  be  one  of  his 
wives.  She  is  persuaded  to  leave  her  vineyards  and  come  to  the 
pavilion  of  the  King.  The  ladies  of  the  court,  concubines  of  Solo- 
mon, sing  in  praise  of  the  King  and  describe  the  delights  of  life  with 
their  royal  lover,  thinking  thereby  to  influence  the  Shulamite  to  de- 
sire to  join  them.  She,  however,  modestly  disclaims  any  charms 
which  might  win  the  favor  of  Solomon,  and  gives  expression  to  re- 
gret that  she  has  left  her  wonted  tasks  to  come  to  a  place  so  un- 
suited  to  her.  She  longs  to  know  where  her  lover  is  tending  his 
flocks,  and  is  smitten  with  the  thought  that  to  leave  his  companion- 
ship for  the  royal  court  is  as  truly  desertion  of  her  lover  as  it  would 
be  to  have  left  him  for  one  of  his  fellow  shepherds.  The  ladies  tell 
her  that  if  she  wishes  her  lover,  she  would  better  go  back  to  the 
shepherds'  tents.  Solomon  thereupon  enters  and  praises  her 
beauty.    By  this  the  Shulamite  is  aroused  from  her  roving  thoughts, 


16  

and  as  a  defense  tells  Solomon  of  her  love  for  own  beloved.  The 
dialogue  closes  with  the  refrain  of  adjuration  to  the  ladies  not  to 
attempt  to  awaken  love  in  her  unless  it  comes  unsolicited  to  her 
bosom. 

Act  II.  The  Shulamite  then  describes  to  the  ladies  a  visit 
from  her  lover,  dwelling  upon  their  rural  delights  and  the  sweet- 
ness of  her  lover's  voice  as  he  sings  to  her.  Then,  seeking  repose, 
she  dreams  that  she  is  taken  to  the  city,  Jerusalem,  and  that  she 
goes  about  endeavoring  to  find  her  lover,  and  is  successful  in  being 
reunited  to  him. 

Act  III.  The  scene  is  now  changed  to  Jerusalem.  Prepara- 
tions have  been  made  at  the  palace  to  receive  the  addition  to  the 
harem.  Marriage  festivities  are  arranged.  The  people  are  all  out 
to  see  the  pageantry.  A  chorus  of  citizens  describe  Solomon's 
palanquin  as  it  approaches  bearing  its  burden  of  beauty.  Then  in 
his  palace  Solomon  once  more  visits  the  Shulamite  and  extols  her 
charms  in  a  number  of  wonderful  similes.  The  Shulamite  responds 
no  word  but  that  she  will  be  true  to  her  own  beloved,  and  avers 
that  she  would  prefer  her  peaceful  mountain  home  with  its  spice-trees 
to  the  great  city  with  all  its  wealth.  Then  her  mind  becomes  ex- 
cited by  the  peril  of  her  situation,  and  her  feelings  rise  to  a  climax, 
as  she  thinks  of  her  lover  coming  and  courting  her  and  taking  her 
with  him.  The  marriage  preparations  awaken  this  thought.  Once 
again  she  seeks  repose  and  dreams  of  endeavoring  to  find  her  lover; 
but  this  time  she  fails,  and  awakens  only  to  adjure  the  ladies,  the 
only  ones  to  whom  she  can  appeal,  to  try  to  find  her  lover  for  her. 

Act  IV.  The  ladies  strive  to  soothe  her  by  asking  why  she 
makes  such  an  ado  over  her  beloved;  what  is  he  more  than  another? 
The  Shulamite  then  describes  him,  and  becomes  calmer  as  she 
proceeds.  A  third  time  Solomon  approaches  her  and  renews  his 
suit.  He  repeats  his  similes  and  extols  her  above  all  his  queens  and 
concubines.  A  scene  follows  in  which  the  ladies  desire  to  see  the 
Shulamite  execute  a  rustic  dance  for  their  benefit.  She  accedes  to 
their  request,  though  modestly,  and  they  describe  her  as  she  ap- 
pears while  dancing.  Solomon  observes  her,  and  enters  while  they 
are  speaking,  to  make  one  more  effort  to  persuade  her;  but  she 
takes  his  words  from  his  mouth  and  maintains  the  most  unflinching 
attachment  to  her  shepherd.  The  oft  repeated  adjuration  closes 
the  act. 


17  

Act  V.  The  last  act  describes  the  return  of  the  Shulamite  to 
her  mountain  home.  A  chorus  of  shepherds  and  vine-dressers 
welcome  her.     She  sings  the  beautiful  song  of  love: 

"  Strong  as  death  is  love ; 
Stern  as  Sheol  is  affection. 
Its  flames  are  flames  of  fire, 
The  flames  of  Jah. 
Floods  cannot  quench  love ; 
Streams  cannot  sweep  it  awa}-. 
If  one  should  offer  all  his  wealth  for  love, 
He  would  be  utterly  despised." 

She  then  describes  how  her  virtue  served  her  to  resist  the  bland- 
ishments of  Solomon,  and  the  drama  closes  with  the  rejoicing  of 
the  reunited  lovers. 


^HE  ^ONQ  OF  3oNQ^ 

[WHICH  IS  SOLOMON'S.] 


-A.CT   I. 

Scene.  Royal  Pavilion  of  Solomon  in  Northern  Palestine,  whither  his 
court  is  moved.  The  Shulamite  has  been  induced  to  leave  her  vineyards  and 
come  to  the  court  of  the  king.     He  desij^ns  to  have  her  among  his  wives. 

The  Shulamite  and  Court  Ladies,  Concubines  of  Solomon. 

Court  Lady —  Let  him   kiss  me  with  his  mouth's 

kisses, 
For  better  are  thy  caresses  than  wine. 

Chorus  of  Ladies — In  frag^rance  thine  ointments  are  ex- 
cellent. 

O  ointment,  "  poured  forth  "  is  thy 
name. 

Therefore  do  the  virgins  love  thee. 

Court  Lady —  Draw  me — 

Chorus —  — after  thee  will  we  run. 

Lady —  Oh!  that  the  king  would  bring  me  to 

his  chambers! 

Chorus —  We  will  be  glad;  we  will  rejoice  in 

thee; 
We  will  remember  thy  caresses  more 

than  wine. 
Rightly  do  they  love  thee. 


20 


Shulamite —  Dark  am  I — 

Chorus —  — but  lovely — 

Shulamite —  — Daug-hters  of  Jerusalem. 

As  the  tents  of  Kedar, 
Chorus —  — as  the  curtains  of  Solomon. 

Shulamite —  Look   not  upon  me,  because  I    am 

dusky, 
For  the  sun  hath  looked  upon  me. 
My  mother's  sons  were  angry  with 

me. 
They  made   me  the   keeper   of   the 

vineyards, 
And  my  vineyard,  my  own,  I  have 

not  kept. 

i^To  her  absent  Shepherd  Lover. ^ 

Tell  me,  thou  whom  my  soul  loves. 
Where  thou  dost  feed  thy  flocks, 
Where  thou  dost  make  them  rest  at 

noon. 
For  why  should  I  be  as  a  wanderer 
By  the  flocks  of  thy  companions? 

Chorus^  If  thou   dost   not    know,    fairest   of 

women. 
Go  forth   in  the  foot  prints  of  the 

flock, 
And  feed  thy  kids  by  the  shepherds' 
tents. 


SCEnSTE  S- 

Solomon  enters  and  praises  her  ;  she  praises  her  lover. 

Solotnon —  To  my  mare  in  my  Pharaoh-chariot  I 


liken  thee,  my  dear. 


21  

Lovely  are  thy  cheeks  in  rows  (of 
coin),  thy  neck  in  necklaces. 

Rows  of  gold  (coin)  we  will  make 
thee,  with  a  pointed  necklace 
of  silver. 

Shulamite  (aside) — While  the  king-  was  in  his  couch  my 

nard  yielded  its  fragrance. 
{to  Solomon)  A  bundle  of  myrrh  is  my  love  to  me, 
lying  between  my  breasts  ; 
A  cluster  of  henna  is  my  love  to  me, 
in  the  vineyards  of  En-gedi, 

Solomon —  Behold  thou  art  fair,  my  dear, 

Behold  ( )  thine  eyes  are  doves. 

Shulamite — {to  her  absent  lover)  Behold  thou  art  fair,  my 

love, 
Yea,  pleasant ;  our  arbor  is  green. 

Solomon —  The  beams  of  our  house  are  cedar  ; 

Our  wainscoting  is  of  cypress. 

Shulamite — {to  Solomon)  I  am  (only)  the  wild  flower  of 

Sharon, 
The  lily  of  the  valleys. 

Solomon —  As  the  lily  among  the  thorns. 

So  is  my  dear  among  the  daughters. 

Shulamite —  As  the  apricot  among  the  trees  of 

the  wood, 
So  is  my  love  among  the  sons. 
In  his  shadow  I  sat,  delighted, 
And  his  fruit  was  sweet  to  my  taste. 
Oh!  that  he  would  bring  me  to  the 

vineyard ! 
His  banner  over  me  would  be  love. 


22 


{to  the  Ladies)  Strengthen   me  with  raisin-cakes  ; 
Refresh  me  with  apricots! 
For  sick  with  love  am  I. 

{to  Solomon)     His  left  hand  would  be  under  my 
head, 
And  his  right  hand  would  embrace 
me. 

{to  the  Ladies)  I  adjure  you,  daughters  of  Jerusa- 
lem,  by   the  gazelles   or  the 
hinds  of  the  field, 
That  ye  stir  not  up,  nor  awake  love 
till  it  please. 


-A.CT  II- 

SCENE.     The  same  as  in  Act  I. 

SCEISTE  l.-(Ideal.) 

Solo  of  the  Shulamite  describing  a  visit  of  her  lover. 

Shulamite —  Hark!  my  love!  see  there!  he  comes! 

Leaping  over  the  mountains,  bound- 
ing over  the  hills. 

My  love  is  like  a  gazelle  or  a  fawn. 

See  there!  he  is  standing  behind  oui 
walls, 

Looking  in  from  the  windows,  gleam- 
ing through  the  lattice.] 

My  love  doth  sing  forth,  he  says  to 
me: — 

"  Rise  up,  my  dear,  my  fair  one,  and 
come  away. 

For  see,  the  winter  is  past ; 

The  rain  has  glided  away — has  gone 


23  

The  blossoms  appear  in  the  earth  ; 

The  time  of  song  has  approached, 

And  the  voice  of  the  turtle-dove  is 
heard  in  our  land. 

The  fig  tree  is  spicy  with  its  figs, 

And  the  vines  in  blossom  yield  fra- 
grance. 

Rise  up,  my  dear,  my  fair  one,  and 
come  away." 

My  dove  is  in  the  clefts  of  the  rock, 
in  the  recesses  of  the  cliffs. 

Let  me  see  thy  countenance  ;  let  me 
hear  thy  voice. 

For  thy  voice  is  sweet,  and  thy  coun- 
tenance is  lovely. 

"  Take  us  the  jackals,  the  little  jack- 
als, 

The  spoilers  of  our  vineyards,  foi 
our  vineyards  are  in  blossom." 

My  love  is  mine,  and  I  am  his  ;  he 
feeds  his  flock  among  the  lilies. 

Until  the  day  breathes,  and  the  shad- 
ows flee,  go  about ; 

Be,  O  my  love,  like  a  gazelle  ( ) 

on  the  mountains  of  Bether. 

SCEKTE   S.-(Ideal.) 
Dream  of  the  Shulamite.     She  seeks  her  lover  and  finds  him. 

Shulamite —  Upon  my  bed  in  the   dark   night  I 

sought  (him) — 
Him  whom  my  soul  loves. 
1  sought  him,  but  found  him  not. 
(I  said)   "  I  will   arise  and  go  about 

in  the  city. 


24 


In  the  streets  and  the  broad  ways  I 

will  seek  (him) — 
Him  whom  my  soul  loves." 
I  sought  him,  but  found  him  not. 
The  watchmen  who  go  about  the  city 

found  me. 
(I  said)  "  Him  whom  my  soul  loves 

have  you  seen? " 
Scarcely  had  I  passed  on  from  them 
When  I  found  him  whom  my   soul 

loves. 
I  seized  him  and  would  not  release 

him, 
Until  I  had   brought  him  unto  the 

house  of  my  mother, 
And  to  the  chamber  of  her  that  con- 
ceived me. 

(/£?  the  Ladies)  I  adjure  you,  daughters  of  Jerusa- 
lem,  by  the    gazelles    or  the 
hinds  of  the  field. 
That  ye  stir  not  up,  nor  awake  love 
till  it  please. 


.A.OT  III- 

Scene.    Jerusalem.     A  street  and  palace  of  Solomon.     The  Shulamite 
!)as  been  induced  to  come  thither.     Wedding  preparations  are  made. 

SOEISTE  1- 
Bridal  procession  in  the  street.     Chorus  of  citizens. 

Chorus^-  Who  there,  is  coming  up  from  the 

wilderness. 
Like    pillars     of     smoke  —  incense, 
myrrh,  and  frankincense — 


26 


Out  of  all  the  aromatics  of  the  mer- 
chant? 

is^  Citizen  (solo) —  See  there!  his  palanquin,  Solomon's 
Sixty  mighty  men  around  it,  of  the 

heroes  of  Israel. 
They  all  lay  hold  of  swords,  trained 

in  battle, 
Each  one  with  his  sword  at  his  side 

for  fear  in  the  night. 


2d  Citizen  (solo)- 


A  palanquin  King  Solomon  made 
him  of  the  wood  of  Lebanon. 

Its  pillars  he  made  of  silver. 

Its  railings  of  gold,  its  cushion  oi 
purple, 

Its  interior  adorned  with  the  one  be- 
loved above  the  daughters  oi 
Jerusalem. 


Chorus — 


Go  forth  and  look,  O  daughters  oi 

Zion, 
At   King   Solomon  with  the  crowr 

wherewith  his  mother  crowned 

him, 
In  the  day  of  his  nuptials,  the   daj 

his  heart  is  glad. 

SCEISTE  S- 

Solomon  visits  the  Shulamite  in  his  palace  and  praises  her  beauty. 

Solomon —  Behold  thou  art  fair,  my  dear,  behold 

thou  art  fair. 
Thine  eyes  are  doves  from  between 

thy  locks. 
Thy  hair  is  like  a  flock  of  she-goats 
that     glisten     from      Mouni 
Gilead. 


26 

Thy  teeth  are  like  a  flock  of  shorn 

sheep   which    come   up    from 

washing, 
Of  w^hich  all  bear  twins;  and  not  one 

among  them  is  sterile. 
Like  a  crimson  thread  are  thy  lips, 

and  thy  mouth  is  lovely. 
Like  a  slice  of  pomegranate  are  thy^ 

temples  between  thy  locks. 
Like  the  tower  of  David  is  thy  neck, 

built  for  an  armory; 
A  thousand  shields  hang  upon  it,  all 

shields  of  heroes. 
Thy  two  breasts  are  like  two  fawns, 

twins  of  the  gazelle. 
Thou  art  all  fair,  my  dear,  in  thee  is 

no  blemish. 

Shulamite —  (My  love  is  mine,  and  I  am  his);  he 

feeds     his    flock    among    the 

lilies. 
Until    the   day    breathes,    and   the 

shadows  flee, 
I  will  go  to  the  mountain  of  myrrh 

and  the  hill  of  frankincense, 

SCEISTE  S_— (Probably  Ideal.) 

The  Shulamite,  excited,  thinks  of  her  lover  as  coming  and  courting  her 
and  defying  Solomon.     Marriage  preparations  suggest  her  thought. 

Shepherd —  "  With  me  from  Lebanon,  my  bride, 

with    me   from   Lebanon    do 
thou  come. 
Do  thou  look  from  the  top  of  Amana, 
from   the   top  of   Shenir   and 
Hermon. 


27  

From  the  dens  of  lions,  from  the 
mountains  of  leopards. 

Thou  hast  taken  away  my  heart,  my 
sister,  my  bride,  thou  hast 
taken  away  my  heart, 

With  one  of  thine  eyes,  with  one 
chain  of  thy  neck. 

How  lovely  are  thy  caresses,  my 
sister,  my  bride  ; 

How  much  better  are  thy  caresses 
than  wine, 

And  the  fragrance  of  thine  oint- 
ments than  all  spices! 

Thy  lips,  my  bride,  drip  with  honey; 

Honey  and  milk  are  under  thy 
tongue, 

And  the  fragrance  of  thy  garments 
is  like  the  fragrance  of  Leba- 
non. 

A  garden  barred  is  my  sister,  my 
bride, 

A  spring  shut  up,  a  fountain  sealed. 

Thy  plants  are  a  park  of  pomegran- 
ates with  most  precious  fruit. 

Henna  with  spices,  nard  and  saffron. 

Sweet  reed  and  cinnamon  with  all 
frankincense  trees. 

Myrrh  and  aloes  with  all  the  chief 
spices. 

A  garden  spring  (art  thou),  a  well 
of  living  water,  and  streams 
of  Lebanon." 

ShulamiU Awake  thou  north  wind,  and  come 

thou  south  wind. 


28  

Blow  upon  my  garden  that  its  spices 

may  flow. 
Let  my  love  come  into  his   garden, 

and  eat  his  precious  fruit. 

Shepherd-^  "  I  am  come  to  my  garden,  my  sister, 

my  bride; 

I  have  gathered  my  myrrh  with  my 
spice; 

I  have  eaten  my  honey-drippings 
with  my  honey; 

I   have    drunk    my   wine   with  my 

milk 

{Aside)  Eat,  O  friends,  drink  and  be  drunk- 
en." 

SCEISTE  4-— (Ideal.) 
Second  dream  of  the  Shulamite.     She  fails  to  find  her  lover. 

Shulamite —  I  sleep,  but  my  heart  is  awake. 

Hark!  my  love!  knocking  (and  say- 
ing) 

"  Open  to  me,  my  sister,  my  dear,  my 
dove,  my  perfect  one. 

For  my  head  is  filled  with  dew,  and 
my  locks  with  the  drops  of  the 
night." 

"I  have  put  off  my  garment;  how 
shall  I  put  it  on? 

I  have  washed  my  feet;  how  shall  I 
defile  them?" 

My  love  put  in  his  hand  at  the  door- 
hole, 

And  I  was  inwardly  moved  for  him, 

I  rose  to  open  to  my  love  and  my 
hands  dropped  myrrh. 


29  

And  my  fingers  with  flowing  myrrh 
upon  the  handles  of  the  lock. 

I  opened  to  my  love, 

But   my   love     had    withdrawn — he 
was  gone. 

My  soul  went  forth  when  he  spoke; 

I  sought  him,  but  found  him  not. 

I  called  to  him,  but  he  did  not  an- 
swer me. 

The  watchmen,  going  about  the  city, 
found  me. 

They  smote  me;  they  wounded  me. 

The  keepers  of  the  walls  took  away 
my  mantle. 
{to  the  Ladies)  I  adjure   you,  daughters  of   Jerusa- 
lem! 

Oh!  that  ye  would  find  my  love! 

Oh!  that  ye  would  tell  him  that  I  am 
sick  with  love! 


SCENE.     The  same  as  in  Act  III.     Palace  of  Solomon. 

SCEHSTE  1„ 

Dialogue  between  the   Court  Ladies   and  the   Shulamite  regarding  her 
beloved . 

Chorus  of  Ladies— \N\i3X   is  thy  love  more  than  (any) 
,love,  fairest  of  women? 
What  is  thy  love  more  than  (any) 
love,  that   thou    shouldest   so 
adjure  us? 

Shulamite--^  My  love  is  sunny  and  ruddy,  banner 

bearer  among  myriads. 


30 

His  head  is  fine  gold; 

His  locks  are  bushy,  black  as  a  ra- 
ven. 

His  eyes  are  as  doves  by  the  water 
brooks, 

Bathing  in  milk,  dwelling  by  full 
fountains. 

His  cheeks  are  as  a  bed  of  spices  pro- 
ducing aromatic  plants. 

His  lips  are  lilies,  dripping  with 
flowing  myrrh. 

His  hands  are  rods  of  gold  filled 
with  jewels. 

His  body  is  ivory  work  covered  over 
with  sapphires. 

His  legs  are  pillars  of  marble  set  on 
bases  of  gold. 

His  face  is  like  Lebanon,  choice  as 
the  cedars. 

His  mouth  is  most  sweet;  he  is  alto- 
gether precious. 

This  is  my  love,  and  this  my  dear 
one,  O  daughters  of  Jerusalem. 

Chorus  of  Ladies — Whither    has  thy  love  gone,    fairest 

of  women? 
Whither  has  thy  love  gone,  that  we 
may  seek  him  with  thee? 

Shulamite —  My  love  has  gone  down  to  his  garden, 

to  the  beds  of  spices. 
To   feed  his  flocks  in   the   gardens, 

and  to  gather  lilies. 
I  am  my  love's  and  my  love  is  mine; 
he  feeds   his  flock  among  the 
lilies. 


31   - — 

Solomon  enters  and  praises  her  beauty. 

Solomon —  Fair  art  thou,  my  dear,  as  Tirzah, 

Lovely  as  Jerusalem,  awe-inspiring 

as  a  bannered  host. 
Turn  away  thine    eyes  from  me,  for 

the}^  have  conquered  me. 
Thy  hair  is  like  a  flock  of  she-goats 

that  glisten  from  Mount   Gil- 

ead. 
Thy  teeth   are  like  a  flock  of  shorn 

sheep    which   come   up    from 

washing. 
Of  which  all  bear  twins;  and  not  one 

among  them  is  sterile. 
Like  a  slice  of  pomegranate  are  thy 

temples  between  thy  locks. 
Threescore  are  the  queens,  and  four- 
score the  concubines. 
And  virgins  without  number. 
One  is  my  dove,  my  perfect  one; 
She  is  the  only  one  of  her  mother. 
The  choice  one  of  her  who  bare  her. 
The  daughters  saw  her  and  blessed 

her; 
The  queens  and  the  concubines,  and 

they  praised  her. 

SCEISTE  3- 

Chorus  of  Ladies  admiring  the  Shulamite  and  urging  her  to  dance.  She 
does  so,  and  they  describe  her  movements  and  her  person  as  disclosed  in  the 
dance. 

Chorus  of  Ladies— V^ho  is  this  that  looketh  forth  as  the 

dawn, 


'S'Z 


Shulamite- 


Chorus — 

Shulamite- 
Chorus — 
Chorus — 


Fair  as  the  moon,  clear  as  the  sun, 
Awe-inspiring  as  a  bannered  host? 

Unto  the  nut  garden  I  went  down  to 
see  the  fruit  of  the  valley, 

To  see  if  the  vine  budded  and  the 
pomegranate  blossomed. 

Before  I  knew  it  my  soul  made  me 
chariots  of  Ammi-Nadib. 

Turn!  turn!  O  Shulamite! 

Turn!  turn!   that  we  may  look  upon 

thee. 
What  would  ye  see  in  the  Shulamite? 

The  dance  of  Mahanaim. 

How  beautiful  are  thy  steppings  in 
shoes,  O  noble  one! 

Thy  rounded  thighs  are  like  jewels, 
the  work  of  an  artist's  hands. 

Thy  turnings  are  circular  move- 
ments; let  them  not  lack  vari- 
ation. 

Thy  body  is  a  sheaf  of  wheat,  set 
about  with  lilies. 

Thy  two  breasts  are  like  two  fawns, 
twins  of  the  gazelle. 

Thy  neck  is  like  a  tower  of  ivory. 

Thine  eyes  are  the  pools  in  Heshbon, 
by  the  gate  of  Bath-Rabbim. 

Thy  nose  is  like  the  tower  of  Leba- 
non, looking  forth  toward  Da- 
mascus. 

Thy  head  upon  thee  is  like  Carmel, 
and  the  locks  of  thy  head  like 
purple  (black). 


33  

A  king  is  taken  in  thy  tresses 

Enter  Solomon. 

Solomon  again  approaches  her;  but  she  discloses  an  unflinching  attach- 
ment to  her  beloved  Shepherd. 

Solomon —  How  fair  art  thou,  and  how   pleas- 

ant, O  love,  in  delights! 

This  thy  stature  is  like  to  a  palm- 
tree  and  thy  breasts  to  clus- 
ters. 

I  said:  "  I  will  climb  the  palm,  I  will 
take  hold  of  its  branches. 

And  thy  breasts  shall  be  as  clusters 
of  the  vine, 

And  the  fragrance  of  thy  nose  like 
apricots, 

And  thy  mouth  like   the  best   wine 


Shulamite  {interrupting)  Flowing  sweetly    for  my   love, 

flowing  gently  (down)  the  lips 
of  sleepers. 
I   am  my  love's   and  for  me  is   his 
desire. 

ijo  her  absent  Lover)  Come,  iny  love,  let  us  go  forth    to 

the  field,  let  us  lodge  in  the 
villages. 

Let  us  arise  early  to  the  vineyard; 
let  us  see  whether  the  vine 
sprouts, 

(Whether)  its  blossom  opens,  (wheth- 
er) the  pomegranates  bloom. 

There  will  I  give  thee  my  caresses. 


u 


The  mandrakes  yield  their  scent; 
And  at   our  gates  are   all   precious 

fruits  new  and  old, 
(Which),  my  love,  I  have  laid  up  foi 

thee. 
Oh!  that   thou  wert  as  my  brother, 

"who  sucked  the  breasts  of  my 

mother! 
(When)  I  found  thee  without  I  would 

kiss  thee, 
And  they  would  surely  not  despise 

me. 
I  would  lead  thee,  I  would  bring  thee 

to   my    mother's    house;    she 

would  teach  me; 
I  would  give  thee  drink  of  the  spiced 

wine  of  my  pomegranate  juice. 
{to  the  Ladies)  His   left  hand  would  be   under   my 

head,  and  his  right  hand  would 

embrace  me. 
I  adjure  you,  daughters  of  Jerusa- 
lem— 
That  ye  stir  not  up  nor  awake   love 

till  it  please. 


Scene.     Mountain  home  of  the  Shulamite  in  Northern  Palestine. 
SCEHSTE  1- 

Shulamite  on  the  arm  of  her  lover.     Chorus  of  Shepherds,  Vine-dressers^ 
etc. 

Chorus —  Who  is  this  coming  up  from  the  wil- 

derness, 


35 


Leaning-  upon  her  love? 

Shulamite—  Under  the  apricot  tree  I   awakened 

thy  love. 
There    thy    mother    brought     thee 

forth; 
There   she  that  brought  thee    forth 

bare  thee. 
Place  me  as  a  seal  upon  thy  hearty 
As  a  seal  upon  thy  hand. 
For  strong  as  death  is  love; 
Stern  as  Sheol  is  affection. 
Its  flames  are  flames  of  fire, 
The  flames  of  Jah. 
Floods  cannot  quench  love; 
Streams  cannot  sweep  it  away. 
If  one  should  offer  all  his  wealth  for 

love, 
He  would  be  utterly  despised. 


Shulamite  and  her  Brothers,  etc. 

Brothers—  We  have  a  little  sister  and  she  is  not 

matured. 
What  shall  we  do  for  our  sister  when 

she  is  asked  in  marriage? 
If  she  were   a  wall,  we  would    build 

upon  her  a  silver  castle; 
If  she  were  a  door,  we  would  carve 

upon  her  a  cedar  tablet. 

Shulamite —  I  am  a  wall,  and  my  breasts  like  tow- 

ers. 
Then  was  I  in  his  eyes  as  one   that 
found  peace. 


36 


Shepherd  Lover — 


Shulamite — 


Solomon   had   a   vineyard  in   Baal 
H  anion. 

He  gave  the  vineyard  to  keepers; 

Each  for  its  fruit  used  to  bring  a 
thousand  of  silver. 

My  vineyard,  my  own,  is  before  me. 

Thou,  O  Solomon,  hast  a  thousand, 
and  two  hundred  fruit-keep- 
ers. 

Thou  that  dwellest  in  the  gardens, 
The  companions  listen  to  thy  voice; 
Let  me  hear  it. 

Break  away,  my  love,  and  be  like  a 

gazelle, 
Or  a  fawn  on  the  mountains  of  spices. 


[the  end.] 


^y\BLE    Of    plVl^ION^ 

ACCORDING  TO  THE  NUMBERING  OF  CHAPTER  AND  VERSE 


Title ch.  I,  V.  i 

ACT  I. 

Scene  I ch.    i,  v.  2-S 

Scene  2 ch.   i,  v.  9— ch.  2,  v.  7 

ACT  II. 

Scene  i ch.  2,  v.  8-17 

Scene  2 ch.  3,  v.  1-5 

ACT  III. 

Scene  i ch.  3,  v.  6-1 1 

Scene  2 ch.  4,  v.  1-7 

Scene  3 ch.  4,  v.  8— ch.  5,  v.  i 

Scene  4 ch.  5,  v.  2-8 

ACT  IV. 

Scene  i ch.  5,  v.  9— ch.  6,  v.  3 

Scene  2 ch.  6,  v.  4-9 

Scene  3 ch.  6,  v.  10 — ch.  7,  v.  6 

Scene  4 ...  ch.  7,  v.  7 — ch.  8,  v.  4 

ACT  V. 

Scene  i ch.  8,  v.  5-7 

vScene  2 ch.  8,  v.  8-14 

Note.     These  divisions  are  according  to  the  num- 
bering of  the  Hebrew  Bible.     Following  the    English 

Bible,  read: 

ACT  IV. 

vScene  3 ch.  6,  v.  10— ch.  7,  v.  5 

Scene  4 ch.  7,  v.  6— ch.  8,  v.  4 


J^OTEg 


TITLE.    The  Song  of  Song§,  which  is  Solomon's. 

The  word  'dsher  (which)  indicates  a  later  hand.  The  proper  title 
of  the  poem  is  the  Song  of  Songs,  /.  e.,  the  most  beautiful,  or  ex- 
cellent, of  songs. 

ACT    I. 

SCENE  I.  L.et  him  l(.iss  me,  etc.  One  of  the  ladies  (solo) 
speaks  of  her  desire  for  the  king's  caresses. 

In  fragrance,  etc.  The  chorus  of  ladies  continue  in  praise 
of  Solomon. 

O  ointment,  evidently  a  term  of  endearment.  Compare 
"  my  nard,"  Sc.  2,  Shidamite  {aside).  Also  compare  Job  xlii.  14, 
Qeren  ChappMh,  paint  horn,  /.  e.,  cosmetic  box. 

Draiv  me— after  thee  will  we  run.  The  change  ^ 
number  here  shows  that  the  chorus  interrupt. 

Dark  am  I— but  lovely— etc.  A  striking  and  beautiful 
passage  in  which  there  is  clearly  a  similar  interruption  by  the  chorus. 
The  court  ladies  have  engaged  in  converse  about  the  joys  they  have 
had  with  Solomon,  in  order  to  move  the  Shulamite  to  yield  to  him. 
She  then  speaks  of  her  sun-burned  hue  as  unworthy  of  their  atten- 
tion. "  Dark  am  I,"  she  says,  "  as  the  tents  of  Kedar;  "  "  but  love- 
ly," say  the  ladies,  "  as  the  curtains  of  Solomon."  The  Shulamite 
then  proceeds  to  lament  her  neglect  in  leaving  her  tasks  and  com- 
ing with  the  ladies  to  Solomon's  pavilion. 

Tell  me.  thou  w^liom  -ny  soul  loves.  Here  the  Shu- 
lamite apostrophizes  her  absent  lover,  and  signifies  her  sorrow  at 
having  wandered  away.  She  remembers  that  she  would  never 
have  left  her  lover  for  another  of  his  own  station,  and  her  conduct 
now  appears  to  her  mind  in  its  true  light. 

It  thou  dost  not  know.  The  ladles  are  irritated  to  think 
that  no  greater  impression  has  been  made  upon  the  Shulamite,  and 


40  

they  impatiently  tell  her  to  go  out  and  follow  the  tracks  of  the  flocks, 
if  she  prefers  such  a  life  to  the  luxurious  one  to  which  they  would 
lead  her. 

SCENE  2.  To  my  mare.  Solomon  now  begins  a  charac- 
teristic dialogue  by  comparing  the  beautiful  maiden  to  his  favorite 
steed. 

In  my  Pharaoii-cliariot.-  Literally  "  In  my  chariot  of 
Pharaoh,"  or  possibly  "  in  Pharaoh's  chariots,"  though  the  latter 
would  not  be  so  intelligible.  The  Hebrew  expression  here  ^  may 
be  pointed  so  as  to  read  B^rikhbi  Phar  'oh  just  as  readily  as 
B^rikh^bhe  Phar  'oh.  It  requires  a  change  of  but  two  vowel  points^ 
That  a  closeness  of  relation,  like  the  above,  may  exist  between 
words  even  when  the  first  has  the  pronominal  suffix  is  seen  from 
passages  like  Ezek.  xvi.  27,  Psa.  Ixxi.  7,  etc.  The  chariot  may  have 
been  one  from  Egypt  so  called  (see  2  Chron.  i.  16,  17),  or  perhaps 
it  may  have  been  a  gift  from  the  Pharaoh  with  whom  Solomon  had 
made  an  alliance,     i  Kings  iii.  i. 

Liovely  are  thy  eiieek§,  etc.  The  Eastern  women  adorn 
themselves  with  bronze  coins  and  necklaces.  Solomon  promises 
the  Shulamite  ornaments  of  gold  and  silver  instead. 

\Vli":le  the  king  was  in  his  couch.  The  coming  of 
the  king  from  his  place  of  retirement  disturbed  the  Shulamite  in  her 
thoughts  of  her  lover.  Until  the  appearance  of  Solomon  those 
thoughts  had  been  to  her  as  agreeable  as  the  fragrance  of  nard, 
which  epithet  she  applies  to  her  lover.  Compare  "  O  ointment," 
Sc.  I,  Chorus  of  ladies. 

A  bundle  ol  myrrh,  etc.  A  careful  rendering  of  this  pas- 
sage relieves  it  of  any  impropriety.  The  Shulamite  simply  com- 
paies  her  lover  to  a  packet  of  aromatics  which  she  wore  upon  her 
person  as  a  perfume,  a  not  uncommon  practice  among  ladies  of  the 
East.  (See  Isa.  iii.  20,  botte  hannephesh,  i.  e.,  scent  boxes.)  The 
parallel  comparison  of  her  lover  to  a  cluster  of  henna  in  the  vine- 
yards of  En-gedi,  shows  that  the  verb  refers  to  the  situation  of  the 
packet  of  myrrh  and  not  to  that  of  the  lover. 

My  love.  This  word,  dodh,  is  the  one  continually  recurring 
throughout  the  poem,  employed  by  the  Shulamite   as  the   special 


1  nyiS  ^33")3 


41  

designation  of  her  beloved.  It  is  used  of  one  beloved,  also  for  a 
friend,  or  relation  (uncle),  Isa.  v.  i,  Lev.  x.  4,  i  Sam.  x.  14,  Esth.  ii. 
15,  etc.  In  the  plural  {dodhmi)  it  signifies  caresses,  tokens  of  love, 
as  in  Act  I.  Sc.  i  (ch.  i.  2  and  4)  and  Act  III.  Sc.  3  (ch.  iv.  10). 
But  in  Act  III.  Sc.  3  (ch.  v.  i)  it  also  signifies  frieiids. 

Beheld  tliou  art  fair,  my  dear, 

Behold  ( )  tliinc  eyes  are  doves. 

The  rhythm  in  Hebrew  is  made  much  more  in  accord  v^ith  the  gen- 
eral metrical  arrangement  if  the  word  J aphah  be  omitted  the  second 
time.  It  may  have  come  in  here  accidentally  on  account  of  the  simi- 
larity to  Act  III.  Sc.  2. 

Note  that  the  words  of  Solomon  here  and  throughout  the  poem 
are  in  marked  contrast  with  those  of  the  Shulamite.  Compare 
their  words  when  she  speaks  of  her  lover  to  offset  Solomon's  lang- 
uage, e.g.,  " mare,"  "  chariot,"  "  necklaces,"  "  beams,"  "  wainscot- 
ing," etc.,  with  "myrrh,"  "henna,"  and  "green"  boughs. 

lam  (only)  the  wilrt  flower  of  Sharon,  said  modest- 
ly and  without  reference  to  beauty  or  grace.  The  flower,  chd- 
bhatstseleth,  is  a  simple  autumnal  flower,  growing  in  meadows, 
resembling  a  crocus.  Sharon  is  either  a  plain  {skaron)  in  general, 
or  the  particular  strip  of  plain  country  near  the  Mediterranean  so 
called.  It  is  either  "  the  wild  flower  of  the  plain,"  or  "  the  wild  flow- 
er of  Sharon." 

Oh!  that  he  would  brings  me  to  the  vineyard! 
Vineyard  {betk  hajjajiii),  i.  e.,'Ci\^  place  zvhence  wine  comes,  is  bet- 
ter than  "  banqueting  house."  The  Hebrew  word  beth,  a  noun  of 
relation,  does  not  always  mean  house;  in  fact  it  oftener  has  the 
meaning  of  place  in  a  general  sense.  See  compounds.  Josh.  x.  11, 
2  Sam.  X.  6,  etc.  Thus  the  language  of  the  Shulamite  becomes 
more  natural  and  in  accord  with  her  thought. 

(Strengthen  me  with  raisin-cakes,  /.  ^.,  pressed  grapes 
{'dsktshothy,  compare  Hos.  iii.  i. 

I  adjure  you,  daui^hters  of  Jerusalem,  etc.    The 

thought  of  this  refrain  is  that  the  ladies  are  not  to  attempt  to  arouse 
in  the  heart  of  the  Shulamite  any  feeling  in  response  to  that  of  Solo- 
mon.    Love,  if  it  come  to  her  bosom  at  all,  must  come  unsolicited. 


4:Z     

ACT  II. 

SCENE  I.— {Ideal.)  The  scenes  marked  Ideal  are  either 
entirely  ideal,  merely  showing  what  passes  in  the  mind  of  the  Shu- 
lamite,  or  ideal  in  so  far  as  the  lover  is -concerned,  and  the  Shula- 
mite  simply  relates  her  dreams,  etc.,  to  the  ladies.  From  the  way 
in  which  Act  IV.  opens,  it  would  seem  that  Act  (II.  Sc.  4,  was 
certainly  related  by  the  Shulamite  to  her  auditors,  the  ladies.  These 
deal  scenes  could  not  well  be  represented  upon  a  stage.  It  may 
be  best  to  regard  them  all  as  narrated  by  the  Shulamite  to  the 
ladies. 

Hark!  my  love  !  §ee  there  !  lie  eoine§  !    The  Shula- 
mite vividly  describes  a  visit  of  her  lover.     Note  the  simplicity  and 
beauty  of  the  references  to  objects  of  nature.     She  represents  her 
Tover  as  singing  to  her. 

Take  u§  tlie  jackals,  the  little  Jaekalii.  This  isprob- 
ably  a  snatch  of  a  familiar  song  her  lover  used  to  sing,  and  which 
she  imagines  him  singing.  The  line  before  speaks  of  his  voice  as 
sweet,  and  naturally  leads  to  the  quotation. 

Be,  O  mj  love,  like  a  g^azelle  ( )  on  the  moun- 
tains of  Bellier.  The  words  omitted  here  probably  crept  in  on 
account  of  the  similarity  of  this  passage  with  the  distich  at  the  close 
of  Act  V.  Sc.  2.  The  line  here  is  too  long  in  the  Hebrew  to  accord 
with  the  general  metrical  arrangement.  The  omission  of  these 
words  restores  what  was  probably  the  origin'^.!  line. 

SCENE  2. — {Ideal.)  Upon  my  bed  in  the  dark  night, 
etc.  This  scene  describes  a  dream  of  the  Shulamite,  which  she 
relates  to  t'le  ladies.  In  her  dream  she  imagines  that  having  been 
taken  to  the  city,  she  wanders  about  there  m  search  of  her  lover. 
In  her  vision  she  finds  him,  and  they  are  reunited  in  her  own  home. 
The  peaceful  conclusion  of  the  dream  gives  her  strength,  and  she 
adjures  the  ladies  as  at  the  close  of  Act  I.  The  word  night  {leloth) 
in  the  first  line  is  in  the  plural,  indicating  an  intensification  of  the 
idea  of  the  word,  hence  dark  night. 

ACT  III. 

SCENE  I.  Who  there,  is  coming  up  from  the 
ivilderness,  etc.  Notice  the  boldness  of  this  piece,  and  its  vig- 
orous style,  also  the  symmetry  of  its  structure. 

See  there!  his  palanquin,  Solomon's.  The  word 
here  is  not  the  same  as  the  one  similarly  translated  in  the  solo  of 


43 

Che  second  citizen,  but  they  are  the  same  in  effect.     The  word  here 

{inittaJi)  means  that  upofi  which  one  may  rcclhte,  i.  e.,  a  bed ;  but 

it  is  used  of  a  bier  in  2  Sam.  iii.  31,  where  it  is  clear  that  it  was   a 

litter  to  be  carried  from  place  to  place.     The  word  below  i^appir- 

ion)  means  that  which  may  be  bortie  from  place  to  place,  hence  a  litter. 

The  word  palanquin  expresses,  therefore,  the  idea  of  both  words, 

and  it  will  be  seen  from  the  context  that  they  both  refer  to  the  same 

object. 

Its  interior  acloriied   with  tlie  one  beloved,  etc. 

Adorned — literally,  paved,  tesselated;  but   of  course  for  the  sake  of 

beauty.    The  one  beloved,  a  concrete  use  of  the  word  love  i^ahdbhdh) 

with  which  compare  the  same  word  in  Act  IV.  Sc.  4  (ch.  vii.  7 — 

English  Bible  6).     The  finishing  touch  to  the  palanquin  is  given  by 

the  beauty  of  its  occupant. 

SCENE  2.  Behold  thou  art  fair,  my  dear.  etc.  No- 
tice the  similes  in  this  piece.  The  king  gives  free  rein  to  his  imagi- 
nation, and  fairly  revels  in  imagery.  He  begins  with  figures  which 
the  Shulamite  can  appreciate,  and  advances  to  the  "tower  of  David  " 
with  its  "  thousand  shields."  This  song  is  a  beautiful  poem  by  it- 
self, beginning  and  ending  with  almost  the  same  words,  a  not  un- 
common form  in  Hebrew  poetry  Compare  Psa.  viii.  2  and  10 — 
English  Bible  i  and  9. 

(My  love  is  mine  and  I  am  his,)  etc.  If  we  compare 
the  refrain  at  the  close  of  this  scene  with  the  conclusion  of  Act  II. 
Sc.  I,  it  will  appear  that  in  chapter  iv.  verse  7  and  the  last  part  of 
verse  5  must  be  transposed.  If  then  we  supply  the  missing  words, 
•'  My  love  is  mine  and  I  am  his,"  we  shall  have  a  refrain  quite  simi- 
lar to  that  in  chapter  ii.  verses  16  and  17.  Furthermore  this  trans- 
position causes  Solomon's  piece  here  to  begin  and  end  with  the 
same  expression.  All  these  changes  cause  the  lines  of  poetry  to 
become  equalized  and  more  metrical  in  the  Hebrew.  Apparently 
the  poem  has  here  suffered  a  little  from  the  ravages  of  time. 

SCENE  z.— [Probably  Ideal.)  With  me  from  Leba- 
non, my  bride,  etc.  The  preparations  for  the  marriage  cause 
the  Shulamite  in  he--  excited  state  to  think  of  her  lover  as  coming 
and  courting  her.  It  is  a  matter  of  dispute  whether  this  scene  be 
real  or  ideal.  It  is,  however,  probably  ideal,  and  is  intended  to  rep- 
resent merely  what  passes  in  the  mind  of  the  Shulamite.  Com- 
pare this  with  the  description  of  the  visit  in  Act  II.  Sc.  i,  and  notice 


—  44  

that  a  dream  follows  in  Sc.  2,  just  as  here  in  Act  III.  Sc.  4.  It  is 
better,  therefore,  to  regard  this  as  the  product  of  the  vivid  imagina- 
tion of  the  Shulamite  wrought  upon  by  the  circumstances  of  her 
condition. 

Observe  the  difference  between  this  piece  and  Solomon's  song 
;n  Sc.  2.  Notice  the  free  and  natural  use  of  imagery  here.  Solo- 
mon's piece  is  a  finely  polished  and  exquisitely  finished  description, 
every  simile  studied  with  care.  This  one  is  infinitely  less  artificial, 
and  more  in  keeping  with  the  character  of  the  Shepherd.  There  is 
a  great  difference  also  in  the  matter  itself.  The  King  views  nature 
in  her  artificial  aspect  under  the  influence  of  civilization;  the  Shep- 
herd sees  nature  in  her  primitive  wildness.  The  king  speaks  of  a 
"crimson  thread,"  2,'' slice  of  pomegranate,"  a  "tower,"  with 
"shields,"  etc.;  the  Shepherd  talks  of  "  honey  and  milk,"  "pome- 
granates," au  natiirel,  "  dens  of  lions,"  "  mountains  of  leopards," 
etc.  The  references  of  the  Shepherd  and  the  Shulamite  are  to  their 
o'.vn  customary  mode  of  life  in  its  rural  simplicity;  Solomon's  refer- 
ence is  to  nature  under  the  view  of  the  art  critic. 

(Aside)  Eat,  O  friends,  drink  and  be  drunken.   The 

imagination  of  the  Shulamite  is  carried  forward  to  her  own  marriage 
with  her  lover.  These  words  are  an  exhortation  on  the  part  of  the 
Shepherd  to  the  guests.  This  renders  it  certain  that  this  scene 
is  ideal  and  not  real.  The  thought  is  of  what  the  Shepherd  would 
have  said,  if  it  were  his  wedding,  and  not  that  he  did  really  come 
to  Jerusalem  and  say  and  do  as  here  is  indicated.  The  strong  lan- 
guage, "  drink  and  be  drunken,"  may  be  referred  to  the  excitement 
of  the  occasion, 

SCENE  /i^.— {Ideal.)    I  §leep,  but  my  heart  i§  awake, 

i.  e.,  I  dream.  Compare  this  dream  with  the  one  in  Act  II.  Sc.  2. 
The  difference  between  the  peaceful  conclusion  of  the  first  dream 
and  the  tumultuous  close  of  this  one  is  to  be  referred  to  the  excite- 
ment of  the  Shulamite  in  view  of  the  peril  of  her  condition.  Ob- 
serve the  unfortunate  details  in  this  dream. 

my  love  put  in  his  hand  at  the  door-hole,  /.  e.,  the 

aperture  in  the  door  of  Eastern  houses  through  which  a  person 
from  without  may  put  his  hand  to  unfasten  the  bar  or  pin  which 
secures  the  door. 


45  

I  ro§e  to  open  to  my  love,  and  my  liand»  dropped 
myrrh.  This  passage  illustrates  the  use  of  ointments  by  Eastern 
women. 

My  §o«l  went  forth,  /.  e.,  I  went  forth.  The  word  soul 
{fiephesh)  with  the  pronominal  suffixes  {iiaphshi,  etc.,)  is  used  con- 
tinually in  Hebrew  in  the  sense  of  self;  compare  "  him  whom  my 
soul  loves,"  (/.  e.,  whom  /  love)  in  Act  II.  Sc.  2,  Compare  also 
Psa.  xvi.  10. 

I  adjure  yon,  daughters  of  Jerusalem  !  Here  we 
have  a  variation  in  the  refrain  caused  by  the  climax  of  dramatic 
feeling.  The  Shulamite  knows  not  whither  to  look  for  help,  but  to 
her  lover.  She  is  about  to  be  driven  into  yielding  to  Solomon's 
entreaties,  and  in  her  helplessness  she  appeals  to  the  ladies  to  find 
her  lover,  that  he  may  come  and  rescue  her. 
ACT  IV. 

SCENE  I.  Wi.ati§fchy  love  more  than  (any)  love, 
fairest  of  women  ?  The  ladies  become  weary  of  her  adjura- 
tions and  desire  to  know  what  there  is  in  her  beloved  Shepherd  that 
makes  him  so  desirable. 

My  love  is  sunny  and  rn;«dy,  etc.  Here  we  have  a 
beautiful  description  of  the  Shepherd  The  Shulamite  now  derives 
her  imagery  from  the  treasures  she  has  seen.  She  seizes  upon  fig- 
ures drawn  from  the  costly  and  rare  jewels  and  the  magnificent 
carved  work  she  has  observed  in  Solomon's  palace.  Contrast  this 
with  her  words  in  Act  I.,  before  she  was  brought  to  Jerusalem,  and 
obseive  how  her  changed  situation  finds  its  reflection  in  her  lan- 
guage. 

SCENE  2.  Fair  art  thou,  my  dear,  as  Tirzah,  etc. 
Solomon  enters  and  renews  his  suit.  He  compares  the  Shulamite 
to  Tirzah  and  Jerusalem,  the  former  a  beautiful  town  in  Northern 
Palestine,  and  the  latter  his  capital  and  royal  residence.  But  he 
also  finds  her  somewhat  inaccessible,  "  awe-inspiring  as  a  bannered 
host."  He  then  returns  to  his  former  similes,  and,  having  exhausted 
his  images,  is  driven  to  compare  her  with  his  queens  and  concubines 
to  their  disadvantage. 

SCENE  3.  Who  is  this  that  lookelh  forth  as  the 
dawn,  etc.  By  this  time  the  ladies  are  naturally  enough  thorough- 
ly weary  of  the  affair;  still  they  continue  to  praise  the  Shulamite, 


46  

and  employ  Solomon's  comparison  with  possibly  a  little  concealed 
sarcasm. 

Before  I  knew  it  my  soul  made  me  chariots  of 
Ammi-IVadib.  In  her  thoughts  the  maiden  is  borne  away  to  the 
scene  of  her  home  with  its  tasks.  Her  mind  has  swiftly  conveyed 
her  as  a  chariot  would  have  done.  The  word  Ammi-Nadib  is 
somewhat  obscure.  Literally  it  would  seem  to  mean,  "  my  people, 
the  noble."  It  may  mean  "  the  people  of  the  prince."  The  ex- 
pression then  would  be  "  the  chariots  of  the  people  of  the  prince." 
Still  Ammi-Nadib  may  be  a  proper  name.  Compare  Amminadab. 
Ex.  vi.  23.  However,  the  idea  conveyed  by  the  whole  sentence  is 
clear  enough,  no  matter  what  be  the  significance  of  this  expression. 
Swift  thought  served  to  transport  the  Shulamite  to  her  home,  just 
as  the  royal  chariots  would  have  done. 

Turn  I  turn  I  O  Sliulamitc! 

Turn  !  turn  !  tliat  we  may  look  upon  thee. 
Here  we  have  the  ladies  urging  the  Shulamite  to  dance  for  their 
entertainment.  The  description  which  follows  clearly  indicates  this. 
The  word  Shulamite  {S/ii7lain?nilh)  is  a  proper  name  from  Shunem, 
or  Shulem.  The  word  is  probably  a  dialectic  variation  of  Shunam- 
mite  {Shunammith,  i  Kings  i.  3,  2  Kings  iv.  12  and  25.)  The 
article  in  the  Hebrew  shows  that  this  is  not  the  proper  name  of  the 
maiden  herself.  Some  have  so  taken  it,  deriving  the  word  as  the 
feminine  form  of  Solomon,  but  the  article  would  hardly  thus  be 
used  with  the  name  of  the  maiden.  The  town  mentioned  above 
{Shiinem,  or  Sillem)  is  evidently  indicated  as  the  place  to  which  her 
abode  is  to  be  referred.  It  is  called  '2ovXr}f.i  by  Eusebius,  and  the 
modern  Solam  is  probably  its  equivalent. 

The  dance  of  Ulahanaim.  Exactly  what  this  means  is 
not  clear.  Some  interpreters  connect  these  words  with  the  previous 
question.  So  the  Revisers  render:  "  Why  will  ye  look  upon  the 
Shulamite  as  upon  the  dance  of  Mahanaim?  "  But  it  is  better  to 
regard  these  words  as  the  natural  answer  to  the  question.  Wheth- 
er there  is  here  a  reference  to  Gen.  xxxii.  1-3,  perhaps  may  not 
reasonably  be  doubted;  but,  whatever  be  the  meaning  intended  by 
Mahanaim,  it  is  certain  that  the  ladies  desired  to  see  the  Shulamite 
dance  some  sort  of  a  dance  for  their  benefit.  That  she  is  actually 
r -^presented  as  dancing  is  clearly  indicated  by  the  first  line  of  the 


47  

succeeding  description.  Only  prejudice  can  account  for  any  other 
view. 

How  beautiful  are  thy  itepping§  in  §lioe§,  O  noble 
one!  Steps  or  steppings  {p^'dmajikJi),  not  "feet  "as  in  the  A. 
V.  "Noble  one,"  better  expresses  the  thought  of  the  Hebrew  use 
of  bath,  a  noun  of  relation.  The  poem  does  not  represent  the  Shu- 
lamite  as  the  daughter  of  a  prince.  The  words  son  and  daughter 
are  constantly  used  in  Hebrew  to  designate  persons  possessing 
characteristics  indicated  by  the  word  in  connection  with  which  they 
are  used.  "  Daughter  ot  Belial"  {bath  b^lijja'al),  i  Sam.  i.  i6, 
means  "daughter  of  wickedness,"/,  e.,  a  "wicked  woman."  "  Son 
of  uprightness"  {ben  chajil),  i  Kings  i.  52,  is  properly  translated  a 
"  worthy  man."  So  here,  "daughter  of  a  noble  "  means  a  "  noble 
woman." 

Thy  tuniing^s  are  circular  movements;  let  them 
not  lack  variation  Here  is  a  reference  to  the  turning  of  the 
Shulamite  in  the  dance.  The  word  translated  in  the  A.  V.  "navel " 
{shorer)  is  a  participial  form  of  a  verb  {shdrar)  meaning,  to  turn, 
to  twist,  to  twine,  to  go  in  a  circle.  This  form  is  only  used  here,; 
and  elsewhere  when  the  navel  is  mentioned  (Prov.  iii.  8,  Job  xl.  16, 
and  Ezek.  xvi.  4)  different  forms,  derived  from  the  same  root,  are 
used.  Here  the  form  is  that  of  the  active  participle,  and 
would  signify  a  turning,  a  revolving,  or  a  going  in  a  circle,  rather 
than  a  thing  twisted.  Furthermore  this  accords  better  with  the 
idea  of  the  dance,  and  is  more  in  keeping  with  the  whole  description. 
The  word  translated  in  the  A.  V.  "goblet"  {'aggdn)  is  probably  a 
trough  for  washing,  hence  a  laver,  or  any  bowl  or  vessel.  It  is  de- 
rived from  a  root  {\ighan)  signifying  to  tread  with  the  feet,  hence 
to  wash  clothes  (by  treading  or  stamping),  whence  the  significance 
of  laver  for  the  noun.  Now,  if  we  here  return  to  the  original 
idea  of  the  root,  we  shall  get  a  meaning  more  suited  to  this  de- 
scription. Instead  of  "a  round  goblet"  (A.  V.)  we  have  "a  circu- 
lar treading  of  the  feet,"  beyond  question  a  reference  to  the  dance- 
To  compare  the  navel  to  a  round  goblet,  or  even  a  round  washing- 
trough  {sicf)  is  hardly  a  fit  reference.  It  is  wanting  in  sense,  as 
well  as  in  modesty  and  beauty.  But  the  reference  to  the  circular 
treading  of  the  Shulamite  in  the  dance  is  natural,  and  fully  in  har- 
mony with  the  other  parts  of  the  description:  To  apply  the  term 
navel  to  the  part  of  the  Shulamite's  person  around  the  navel,  as  is 


48  

done  by  most  interpreters,  even  (and  especially)  if  clothed  and 
adorned  with  a  jeweled  girdle,  is  to  employ  a  synechdoche  which  is 
unnatural  and  forced.  The  word  translated  in  the  A.  V.  "  liquor" 
{niezegJi)  means  mixture,  hence  "mixed  wine,"  if  in  a  goblet.  But 
in  view  of  the  previous  reference  it  would  more  naturally  signify 
variations  or  alterations  in  the  dance.  The  ladies  desire  her  to 
continue  the  dance  and  to  introduce  into  her  movements  as  much 
"  mixture  "  or  variety  as  possible.  The  verbal  expression, 'rt/•^V^/^- 
sar,  is  the  regular  Hebrew  use  in  prohibitions  or  deprecations,  "  let 
not."     The  Revisers  render: 

"  Thy  navel  is  like  a  round  goblet 
Wherein  no  mingled  wine  is  wanting." 

The  second  line  should  certainly  be: 

"  In  it  let  no  mingled  wine  be  wanting." 
But  in  accord  with  the  general  spirit  of  the  piece  it  is  better  to  rend- 
er the  whole  consistently,  thus:  "Thy  turnings  are  circular  move- 
ments; let  them  not  lack  variation."     This  rendering  is  pleasing  and 
natural,  and  in  every  way  more  satisfactor}\ 

Thine  eyes  are  the  pools  in  Ileshbon,  hy  theg^ate 
of  Bath-Kabbim.  Heshbon,  modern  Hesbdn,  near  which  are 
remains  of  masonry  belonging  to  at  least  one  such  pool,  was  the 
city  of  the  Kings  of  Moab  (Deut.  ii.  24-37,  Num.  xxi.  25-35).  The 
pools  mentioned  must  have  been  near  the  gate  of  that  city,  which 
is  designated  as  Bath-Rabbtin,  literally  "  daughter  of  multitudes," 
/.  e.,  a.  populous  city;  or  perhaps  Bath-Rabbim  is  a  designation  of  a 
particular  gate,  the  gate  where  markets  and  tribunals  (hence  imd- 
titudes)  were  held.  "  Daughter  "  is  a  term  often  applied  to  cities — 
Isa.  i.  8,  X.  32,  Ps.  cxxxvii.  8,  Zech.  ii.  11 — English  Bible  li.  7. 

A  king:  is  taken  in  thy  tresses— The  word  here  used 
{r^hdtim)  means  ringlets  or  curls,  so  called  from  their  Jlowiiig. 
The  root  {rdhat)  means  to  run  or  flow,  as  water.  An  interruption 
is  here  made  by  Solomon,  who  enters  and  observes  the  Shulamite. 
Hence  the  ladies  refer  to  him  as  charmed  by  her  beauty.  The  last 
line  is  broken  and  unfinished,  thus  showing  the  interruption. 

SCENE  4.  How  fair  art  thou,  and  how  pleasant, 
O  love,  in  delights !  Thus  Solomon  begins  his  address.  The 
word  here  translated  "love"  (^ahdbhdk)  is  the  ordinary  word  used 
in  this  poem  for  love.  e.  g.,  ch.  ii.  4,  ch.  viii.  6,    7.     It   is   the   word 


49  

used  in  the  refrain  which  closes  each  act,  ch.  ii.  7,  ch.  iii,  5,  ch.  v.  8, 
and  ch.  viii.  4,  Here  (ch.  vii.  7— English  Bible  6,)  and  in  Act  III. 
Sc.  I  (ch.  iii.  10)  it  is  used  in  a  concrete  sense  of  "one  beloved." 
This  is  not  the  continually  recurring  word  employed  by  the  Shula- 
mite  to  designate  her  beloved. 

Flowiii;;;  sAveetly  for  my  love,  Flowing  gently 
^down)  the  lips  or§leeper§.  The  Shulamite  here  interrupts 
Solomon,  and  gives  him  to  understand  that  the  charms  he  praises  are 
for  her  lover  only. 

ACT  V. 

SCEiYE  I.  Who  is  this  ?  etc.  Compare  the  chorus  of  citi- 
zens in  Act. III.  Sc.  I. 

Under  tlie  aprieot  tree,  etc.  The  lovers  are  now  re- 
united in  their  old  home  where  they  both  were  born  and  reared. 
The  victory  of  true  love  over  all  the  allurements  of  the  great  city 
and  the  royal  court  is  now  strikingly  related, 

For  strong  as  deatii  is  love; 
fetcrn  as  Slieol  is  affeetion. 

This  is  a  beautiful  song  of  love.  Love  is  represented  as  firm 
as  death  and  as  relentless  as  Sheol,  the  abode  of  the  dead.  Its 
tlames  are  divine  Games  which  naught  can  quench.  AH  the  wealth 
that  the  great  king  could  offer  were  despised  by  the  true  heart  of 
Dne  who  possessed  this  treasure,  a  pure  and  loyal  affection. 

SCENE  2.  We  have  a  little  sister,  etc.  The  Shula- 
mite's  brothers  are  speaking  of  her  as  young  and  tender,  needing 
:heir  protection.  They  know  not  how  to  defend  her.  Were  she  a 
vvallor  a  door,  the  mode  of  procedure  would  be  clear;  but  as  she  is 
only  a  maiden  they  cannot  tell  v;hat  course  to  pursue.  This  is  to 
.ntroduce  the  declaration  which  follows.  They  do  not  know  what 
:he  power  of  love  and  the  influence  of  trial  have  been  in  developing 
the  character  of  their  little  vineyard-keeper. 

I  am  a  wall,  etc.  Her  virtue  has  proven  to  her  a  power  of 
defence  in  a  time  of  the  severest  ordeal.  After  speaking  of  this,  the 
Shulamite  contrasts  Solomon's  great  vineyard  near  Baal-Hamon 
(perhaps  a  town  in  Samaria,  JSeAa/^caT',  Judith  viii.  3),  its  many 
fruit  keepers  and  rich  vintage,  with  her  own  humble  dwelling;  and 
the  suggestion  is  of  Solomon's  wealth  and  his  harem,  in  contrast  to 
her  obscure  but  faithful  Shepherd. 


50  

Thou  that  dwellest  in  the  gar<!cii§,  etc.  Here  is  given 
a  tender  complaint  of  the  lover  that  the  Shulamite  is  giving  too 
much  attention  to  her  friends  and  kindred,  her  companions.  He 
wants  her  to  himself. 

Break  away  my  love  and  be  like  a  gazelle.  This 
refrain,  sung  by  the  Shulamite,  closes  the  poem,  which  ends  in  the 
joy  of  a  triumphant  victory  over  the  insidious  foe  who  vv'ould  have 
destroyed  the  purity  and  peace  of  two  loyal  and  loving  hearts. 


AMBEICAN  SABBATH  TRACT  SOCIKTY     8TEAM    IBINT,   ALFUKD   CliNIUK,  K.  Y. 


